In 1998, director Shekhar Kapur took on a film written by Michael Hirst that chronicled the early reign of the virgin queen, Elizabeth I. “Elizabeth” starred Cate Blanchett in the title role, Geoffrey Rush and Joseph Fiennes. The resulting film was nominated for seven academy awards, including a nomination for Remi Adefarasin’s cinematography.

Now, almost 10 years later, the same team of Kapur and Adefarasin has created “Elizabeth: The Golden Age,” with Blanchett, Rush and Fiennes all returning in their same roles. “Golden Age” is the epic sequel that begins where the other left off.

“Elizabeth: The Golden Age” opens with an ominous prologue that lays the groundwork for a foreboding holy war between King Phillip II of Spain (Jordi Molla), a Catholic, and Queen Elizabeth I of England (Cate Blanchett), a Protestant.

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Choosing to become part of a crime family is something that can’t be changed. Once the choice is made, it becomes permanent. A life of crime is tempting; it’s full of danger, money, and sex. Its rewards are great but the risks are usually greater.

To join the Russian mafia, people must be able to strip down and show their resumes. In the underground world of Russian crime a person’s story and life is told through tattoos.

The idea of tattoos as a form of biography is one that is prevalent in David Cronenberg’s newest film. “Eastern Promises” is a movie that chronicles the life of a hospital nurse named Anna (Naomi Watts) who unknowingly crosses paths with the Russian mafia operating out of London.

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